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Cordy Ryman: Scrapple

Cordy Ryman 
Blue Elephant, 2010
acrylic, enamel and wood glue on wood
18-5/8 x 16 x 3-7/8 inches

Cordy Ryman
Foam Baby, 2010
acrylic, foam, shellac, ink and studio sweepings on wood
16 x 13-3/4 x 1-1/2 inches

Cordy Ryman 
Spiral Wedges, 2009
acrylic, enamel, Gorilla Glue, staples, Velcro, and fiberglass mesh on Gator board
13-1/2 x 11 x 3-1/2 inches

Cordy Ryman 
No Carpet, 2010
acrylic, shellac and floor adhesive on wood
16-1/2 x 14-1/2 inches

Cordy Ryman 
Egg Fog, 2010
acrylic and enamel on wood
10 x 9-1/4 x 2-1/2 inches

Cordy Ryman 
Milk Grain Continued, 2010
acrylic, shellac and ink on wood
16-3/4 x 16 inches

Cordy Ryman 
Left Turn, 2010
acrylic, enamel and ink on wood
19-1/4 x 16 x 1-1/2 inches

Cordy Ryman 
Nelma Stamp, 2010
acrylic, enamel and ink on wood
24 x 22-1/4 x 1-1/2 inches

Cordy Ryman 
Scrap Box, 2010
acrylic, graphite and shellac on wood
16-1/2 x 12 x 2 inches

Cordy Ryman 
Spread Stack Ghost (Red), 2010
acrylic, enamel and glue on wood
17-1/4 x 15-1/2 x 2-1/2 inches

Cordy Ryman 
Bars and Stripes, 2009
acrylic, enamel, wood and fiberglass mesh on Gator board
17-3/4 x 15-3/4 x 1-3/4 inches

Cordy Ryman 
Blue V, 2008
acrylic on wood
16 x 12 x 2-1/2 inches

Cordy Ryman 
Measured Spine, 2009
acrylic and ink on wood 
approximately 144 x 7 x 7 inches

Cordy Ryman 
Third Ghost Wave, 2010
enamel on wood
53 pieces: 96 x 1-3/4 x 1-3/4 inches each; 96 x 180 x 96 inches overall

Cordy Ryman 
Blue Brick Brace, 2010
enamel on wood with Velcro, 86 pieces 
87 x 12-3/4 x 63-1/2 inches

July 11 – September 04, 2010

Lora Reynolds Gallery is pleased to announce our first solo exhibition of new works by New York based artist, Cordy Ryman, entitled Scrapple.  Rooted loosely in minimalism and abstraction, Cordy Ryman's paintings and sculptures address elements of architecture with rich texture and a unique color palette.  His intuitive and spontaneous process is propelled and determined primarily by the characteristics of his media.  Manipulating materials such as wood, metal, Velcro, Gorilla Glue, staples and scraps from his studio floor, Ryman's assemblages convey his hand in physical and humorous ways.

A departure from traditional archetypes, Ryman's paintings possess bold sculptural surfaces and forms.  In Devil Dog, Ryman hinges together two roughly cut blocks of recycled wood leaving them angled and agape at the center.  On the outward surface Ryman has applied splotches of white paint to reveal the wood's inherently crude texture.  The minimalist white also emphasizes a lone, residual, bent nail enflamed with a coat of red paint.  Ryman considers even the back of this work, as it dons a vibrant shade of jade - casting a green glow against the white gallery wall. 

Eschewing easy categorization, Ryman's works at once straddle sculpture, painting and installation.  For this exhibition a few of Ryman's painted sculptures will engage elements of the architectural space that are often unconsidered.  Referencing artist Carl Andre, Blue Brick Brace, is composed of uniform units of wood that systematically line the gallery floor and wall.  Yet, in contrast to Andre's austerity, Ryman's medium is primarily an aesthetic combination of painted and unpainted wood.  These intentionally hand-made and imperfect works are each beautiful, engaging, playful and art-historically rooted; yet they stem from Ryman's unique perspective.

Cordy Ryman was born in New York City, and received his BA from the School for the Visual Arts.  He has received the Rhodes Family Award for Excellence and the Helen Foster Barnett Prize.  Exhibited widely both nationally and internationally, Ryman was recently included in a four-person exhibition at the Nerman Museum of Contemporary Art in Kansas.  His work resides in public collections such as the Microsoft Art Collection, the Rubell Family Collection and the Museum of Contemporary Art, North Miami, among others.  Recently, Ryman has been featured in many publications including Art in America, Sculpture Magazine and the New York and Los Angeles Times.